by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
(Newly Composed Fiddle Tunes). Edited by Paul Stewart Cranford. For Fiddle and V...(+)
(Newly Composed Fiddle
Tunes). Edited by Paul
Stewart Cranford. For
Fiddle and Violin.
Transcribed Solos.
Cranford Publications.
Fiddle Tunes.
Intermediate. Book/CD
Set. 112 pages
Violin SKU: BT.9781408114612 Composed by Peter Davey. Abracadabra. Method...(+)
Violin
SKU:
BT.9781408114612
Composed by Peter Davey.
Abracadabra. Method. Book
with CD. 64 pages.
Collins Music Publishing
#9781408114612. Published
by Collins Music
Publishing
(BT.9781408114612).
ISBN 9781408114612.
English.
Now in a
third edition,
Abracadabra Violin
has a fresh and
contemporary new look and
is the perfect book for
pupil and
teacher.
This
title offers an identical
selection of repertoire
to the other books in
theAbracadabra Strings
series, so they can be
used in any combination
for group or whole class
lessons and mixed
ensemble performances.
Used alone, they remain
ideal for individual
tuition.
With
tunes you know and want
toplay, carefully graded
in 20 learning steps,
this new edition of the
popular tutor also
includes duets, trios and
teacher's parts. Clear
fingering and bowing
diagrams and concise
theory explanations help
to teach
thefundamentalsof the
instrument, and each new
technical aspect is
reinforced by several
pieces using that
particular
technique.
Abra
cadabra Violin now
also includes two CDs of
performance and backing
tracks, featuringselected
orchestral backings.
Violin SKU: PE.EP7834 A Progressive Sight-reading Course. Composed...(+)
Violin
SKU:
PE.EP7834
A
Progressive Sight-reading
Course. Composed by
Caroline Lumsden. Violin
Studies & Tutors. Edition
Peters. Book. 40 pages.
Duration 00:00:00.
Edition Peters
#98-EP7834. Published by
Edition Peters
(PE.EP7834).
ISBN
9790577010311. 232 x 303
inches.
English.
Sight-r
eading is one of the most
important yet neglected
skills for any musician,
and an important
component of Associated
Board and other music
exams.
Right@Sight
contains pieces designed
to help students master
the art of
sight-reading:
a carefully graded
sequence of pieces eases
the student's progression
from one grade to the
next
guidance
notes using the mnemonic
TRaK (Time-signature,
Rhythm and Key) help
students develop a
disciplined
approach
duet
parts for teachers to
play along with their
students during lessons
encourage confident
playing
R
ight@Sight contains
everything a violinist
needs to develop
sight-reading skills both
during and between
lessons.
Violin SKU: PE.EP7835 A Progressive Sight-reading Course. Composed...(+)
Violin
SKU:
PE.EP7835
A
Progressive Sight-reading
Course. Composed by
Caroline Lumsden. Violin
Studies & Tutors. Edition
Peters. Book. 40 pages.
Edition Peters
#98-EP7835. Published by
Edition Peters
(PE.EP7835).
ISBN
9790577010328. 232 x
303mm inches.
English.
Sight-r
eading is one of the most
important yet neglected
skills for any musician,
and an important
component of Associated
Board and other music
exams.
Right@Sight
contains pieces designed
to help students master
the art of
sight-reading:
a carefully graded
sequence of pieces eases
the student's progression
from one grade to the
next
guidance
notes using the mnemonic
TRaK (Time-signature,
Rhythm and Key) help
students develop a
disciplined
approach
duet
parts for teachers to
play along with their
students during lessons
encourage confident
playing
R
ight@Sight contains
everything a violinist
needs to develop
sight-reading skills both
during and between
lessons.
A progressive sight-reading course (with accompaniment CD). Composed by Caroline...(+)
A progressive
sight-reading course
(with accompaniment CD).
Composed by Caroline
Lumsden. Studies and
Tutors. Education. Sheet
Music and CD. Edition
Peters #EP7831. Published
by Edition Peters
A progressive sight-reading course (with accompaniment CD). Composed by Caroline...(+)
A progressive
sight-reading course
(with accompaniment CD).
Composed by Caroline
Lumsden. Studies and
Tutors. Right@Sight
Series. Education. Sheet
Music and CD. Edition
Peters #EP7832. Published
by Edition Peters
Chamber Music Violin SKU: PR.114418750 Composed by Michael Hersch. Sws. P...(+)
Chamber Music Violin
SKU: PR.114418750
Composed by Michael
Hersch. Sws. Performance
Score. 8 pages. Duration
11 minutes. Theodore
Presser Company
#114-41875. Published by
Theodore Presser Company
(PR.114418750).
ISBN
9781491129524. UPC:
680160655489. 9 x 12
inches.
The
seven-movement in the
snowy margins might be
considered a sort of
atomic suite, as each
movement is succinct, yet
a microcosmic powerhouse
inspired by “The
Comet,” by Polish
writer and Holocaust
victim Bruno Schulz.
Hersch’s intensity is
expressed through
dramatically captivating
violin gestures, pushing
the boundaries of
texture, technique, and
emotion. Michael
Hersch’s in the snowy
margins was written in
2010. Like much of his
work, it is grounded in
literature and art. The
title is drawn from a
short story, The Comet by
Polish writer, poet, and
artist, Bruno Schulz
(1892-1942). This forms
the last of his
collection The Street of
Crocodiles, published in
1934. Schulz was shot by
a Nazi officer in
1942.Both the title of
Hersch’s work, and the
‘motto’ found on the
composer’s manuscript
(‘Thus far and no
further. But what has
become of the end of the
world…’) are to be
found in The Comet.
It’s interesting that
in in the snowy margins,
unlike his earlier
Fourteen Pieces which
were inspired by the
poetry of Primo Levi,
Hersch chose to not title
each individual movement
with a quote. However his
choices of text are
applied, there is a clear
quality of distillation.
In every case, the texts
which the composer has
chosen to eschew lie
beneath the music, akin
to the greater mass of an
iceberg, submerged, but
imminent.Hersch also has
very particular taste in
visual art, and there
seems to be common ground
between the intensely
expressionist drawing of
Schulz, and those of
Michael Mazur, which
inspired his string
quartet Images from a
Closed Ward. The
parallels between these
artists reflect common
traits shared between
these two pieces, which
provide a window on how
the music should be
approached, expressively
and technically. I would
argue, that from a
violinist’s point of
view, this pertains
directly to how bow and
left hand should approach
the string: the febrile
vibrancy of both Mazur
and Schulz’s pencil and
charcoal strokes, perhaps
what T.S. Eliot called
the ‘circulation of the
lymph’, in every
gesture, speaks to the
intense experience,
physically and
emotionally, of playing
(and hearing) this music.
There is an intense sense
of ‘truth to
materials’ at every
moment, the sense that
every note sings on the
edge of, or even beyond,
total collapse.— Peter
Sheppard-Skaerved.